"Armstrong (wearing a mask in a scene while playing drums). Also in November 1936, the Benny Goodman Orchestra came to Los Angeles to play the Palomar Ballroom. When John Hammond brought Goodman to see Hampton perform, Goodman invited him to join his trio, which soon became the Benny Goodman Quartet with Teddy Wilson and Gene Krupa completing the lineup. The Trio and Quartet were among the first racially integrated jazz groups to perform before audiences, and were a leading small-group of the day. While Hampton worked for Goodman in New York, he recorded with several different small groups known as"
"the Lionel Hampton Orchestra, as well as assorted small groups within the Goodman band. In 1940 Hampton left the Goodman organization under amicable circumstances to form his own big band. Hampton's orchestra developed a high-profile during the 1940s and early 1950s. His third recording with them in 1942 produced the version of ""Flying Home"", featuring a solo by Illinois Jacquet that anticipated rhythm & blues. Although Hampton first recorded ""Flying Home"" under his own name with a small group in 1940 for Victor, the best known version is the big band version recorded for Decca on May 26, 1942, in"
"Lionel Hampton band and worked with Nat King Cole into the 1950s. He worked separately with Cole's guitarist, Oscar Moore. Beginning in the 1950s, he was a studio musician who recorded soundtracks and pop music with Nelson Riddle. He was a sideman in the 1941 Fred Astaire movie ""You'll Never Get Rich"". He is featured on a ""March Milastaire (A-Stairable Rag)"", a Porter song that contrasts march and jazz rhythm. Comfort played at many night clubs in Los Angeles. He died in Los Angeles. Charles Mingus, in his autobiography ""Beneath the Underdog"", wrote that when he was a child in"
"in Kenosha, Wisconsin, before he and his family moved to Chicago, Illinois, in 1916. As a youth, Hampton was a member of the Bud Billiken Club, an alternative to the Boy Scouts of America, which was off-limits because of racial segregation. During the 1920s, while still a teenager, Hampton took xylophone lessons from Jimmy Bertrand and began to play drums. Hampton was raised Roman Catholic, and started out playing fife and drum at the Holy Rosary Academy near Chicago. Lionel Hampton began his career playing drums for the ""Chicago Defender"" Newsboys' Band (led by Major N. Clark Smith) while still"
"band, doing shows in Houston and throughout Louisiana during the summer. Cobb continued his musical career with the local bands of trumpeter Chester Boone, from 1934 to 1936, and Milt Larkin, from 1936 to 1942 (which included a period on the West Coast with Floyd Ray). Among his bandmates in the Larkin band were Illinois Jacquet, Eddie ""Cleanhead"" Vinson, Tom Archia, Cedric Haywood, and Wild Bill Davis. Having turned down an offer from Count Basie in 1939, Cobb replaced Jacquet in Lionel Hampton's band in 1942, staying with Hampton until 1947. Cobb's featured solo on Hampton's theme song ""Flying Home"
"a teenager in Chicago. He moved to California in 1927 or 1928, playing drums for the Dixieland Blues-Blowers. He made his recording debut with The Quality Serenaders led by Paul Howard, then left for Culver City and drummed for the Les Hite band at Sebastian's Cotton Club. One of his trademarks as a drummer was his ability to do stunts with multiple pairs of sticks such as twirling and juggling without missing a beat. During this period he began practicing on the vibraphone. In 1930 Louis Armstrong came to California and hired the Les Hite band, asking Hampton if he"
"of Lionel Hampton, Billy Eckstine, Dizzy Gillespie, and Mercer Ellington and the quintet of Charlie Parker. He joined Parker's band in December 1948. He was a charter member of the original cooperative Jazz Messengers. He also recorded as a sideman with Thelonious Monk and Sonny Rollins, and he replaced Clifford Brown in the Max Roach Quintet after Brown's death in 1956. In addition to sideman work, Dorham led his own groups, including the Jazz Prophets (formed shortly after Art Blakey took over the Jazz Messengers name). The Jazz Prophets, featuring a young Bobby Timmons on piano, bassist Sam Jones, and"
"various bands, notably Lionel Hampton (1959–61). Soon after, though, he quit playing trombone and focused on piano. In 1961 Tapscott formed the Pan Afrikan Peoples Arkestra, with the aim of preserving, developing and performing African-American music. As his vision grew, this became just one part of a larger organization in 1963, the Underground Musicians Association (UGMA), which later changed name to the Union of God's Musicians and Artists Ascension (UGMAA). Arthur Blythe, Stanley Crouch, Butch Morris, Wilber Morris, David Murray, Jimmy Woods, Nate Morgan and Guido Sinclair all performed in Tapscott's Arkestra at one time or another. Tapscott and his"
"and drummers Sonny Johnson, Dick Dickerson, and Thomas Whitted, who became Virtue Hampton's husband. In May 1952, as one of the winners in a ""Pittsburgh Courier"" popularity poll of its readers, the Hampton family band performed in concert at Carnegie Hall in New York City on the same bill as the Lionel Hampton band, the Nat King Cole Trio, and singer Billy Eckstein. Shortly after, Duke Hampton's band returned to New York to perform at the Apollo Theater and the Savoy Ballroom. The group became the house band at the Cotton Club and the Sunset Terrace nightclubs on Indiana Avenue,"
"Lionel Hampton who had returned to California and was putting together a big band. Hampton wanted to hire Jacquet, but asked the young Jacquet to switch to tenor saxophone. In 1942, at age 19, Jacquet soloed on the Hampton Orchestra's recording of ""Flying Home"", one of the very first times a honking tenor sax was heard on record. The record became a hit. The song immediately became the climax for the live shows and Jacquet became exhausted from having to ""bring down the house"" every night. The solo was built to weave in and out of the arrangement and continued"
"Bruce Hampton Bruce Hampton (born Gustav Valentine Berglund III; April 30, 1947 – May 1, 2017) was an American musician. In the late 1960s he was a founding member of Atlanta, Georgia's avant-garde Hampton Grease Band. Adopting the moniker Colonel Hampton B. Coles, Retired or alternatively Col. Bruce Hampton Ret., and sometimes playing a sort of dwarf guitar called a ""chazoid"", he later formed several other bands. Some of those band names include The Late Bronze Age, The Aquarium Rescue Unit, The Fiji Mariners, The Codetalkers, The Quark Alliance, Pharaoh Gummitt, and Madrid Express. As a member of the Hampton"
"Emory University Hospital Midtown in Atlanta, Georgia. Bruce Hampton Bruce Hampton (born Gustav Valentine Berglund III; April 30, 1947 – May 1, 2017) was an American musician. In the late 1960s he was a founding member of Atlanta, Georgia's avant-garde Hampton Grease Band. Adopting the moniker Colonel Hampton B. Coles, Retired or alternatively Col. Bruce Hampton Ret., and sometimes playing a sort of dwarf guitar called a ""chazoid"", he later formed several other bands. Some of those band names include The Late Bronze Age, The Aquarium Rescue Unit, The Fiji Mariners, The Codetalkers, The Quark Alliance, Pharaoh Gummitt, and Madrid"
"is also a distant cousin of Lionel Hampton. Hampton began her career as a musical entertainer in the 1930s with the Hampton family's band. During 1940s and early 1950s she performed in a quartet with her three sisters and with all nine of her surviving siblings in Duke Hampton's Orchestra, her older brother's jazz band. She moved to New York City in 1958 to pursue a solo career as a cabaret singer. Hampton also became a singer/songwriter and dancer, which included off-Broadway theatre performances and swing dancing in Hollywood films. The Hampton family initially formed as the Deacon Hampton's Pickaninny"
"with Hampton included appearances in the films ""Lionel Hampton and His Orchestra"" (1949) and ""Jelly Roll"" (1952), and on Hampton's recordings from this time on Decca – including the 1949 R&B chart hit ""Drinking Wine, Spo-Dee-O-Dee, Drinking Wine"" – and MGM. He also recorded under his own name, for various labels including Aladdin, Spire, Peacock and Brunswick, often using various members of Hampton's orchestra. He toured Europe with Hampton several times between 1953 and 1955. In March 1955, during a concert at Valenciennes, France, Parker had a brain hemorrhage, from which he did not recover. He returned to the United"
"Band, but due to the negative racial connotations, the band changed its name and became known as Deacon Hampton's Family Band (also referred to as the Deacon Hampton and His Band or Deacon Hampton and the Cotton Pickers). The family traveled the Midwest, especially in Pennsylvania, West Virginia, Kentucky, and Indiana, performing at fairs, carnivals, tent shows, and private parties. In addition to dancing and presenting comedy skits, the band performed a variety of musical genres, including ragtime, blues, dixieland, polka, and jazz music. In 1938, after an unsuccessful trip to California to find work in the Hollywood film industry,"
"High School in 1954 and, after a semester at Butler University, joined the Marines. He played in the Airmen of Note and the Air Force VIP Band. Snyder spent eight years in the military and played in the Air Force Academy Band. After leaving the military, Snyder played with the Tommy Dorsey and Ted Weems orchestras. At Stax Records, he played with the Memphis Horns. In 1966, Snyder moved to Detroit, where he played with the Motown Recording Orchestra and the WJR Radio Band. In 1971, Snyder met Lionel Hampton when both men played at a benefit in Cleveland, Ohio."
"May 1952, after Duke Hampton's band was among the winners of a ""Pittsburgh Courier"" popularity poll of its readers, the group performed in concert at New York City's Carnegie Hall on the same bill as the Lionel Hampton band, the Nat King Cole Trio, and singer Billy Eckstein. Duke Hampton's band returned to New York a short time later to perform at Harlem's Apollo Theater and the Savoy Ballroom. The group became the house band at the Cotton Club and the Sunset Terrace, two well-known nightclubs on Indiana Avenue, the entertainment hub of the city's black community, and at other"
"the 1960s, Hampton's groups were in decline; he was still performing what had succeeded for him earlier in his career. He did not fare much better in the 1970s, though he recorded actively for his Who's Who in Jazz record label, which he founded in 1977/1978. Beginning in February 1984, Hampton and his band played at the University of Idaho's annual jazz festival, which was renamed the Lionel Hampton Jazz Festival the following year. In 1987 the UI's school of music was renamed for Hampton, the first university music school named for a jazz musician. Hampton remained active until a"
"at fairs, carnivals, tent shows, and private parties. In addition to dancing and presenting comedy skits, the band performed a variety of musical genres, including country, swing, rhythm and blues, polka, and jazz. In 1938, after the family made an unsuccessful trip to California to find work in the Hollywood film industry, the Hamptons settled in the Indianapolis, Indiana, area and continued touring and performing with their band. During World War II the family band took a temporary break, but the four Hampton sisters formed a short-lived quartet called The Hamptonians and later performed as the Hampton Sisters in local"
"Club, which was near the MGM studios in Los Angeles. He spent 1940 to 1942 with Lionel Hampton, until the war interrupted his career. With his brother, Ernie, he served in the U.S. Navy in the 45-piece regimental band that was attached to the Navy's preflight training school for pilots at St. Mary's College in Moraga, California. The band played for bond rallies, regimental reviews, at football games, and in concerts for the cadets and the community. Two swing bands were organized from the larger regimental band, and they played for smokers and dances at USOs and officers clubs. Royal"
"While working here he was heard by Nat King Cole, who asked him to join his trio. During his tenure with Cole, Harris performed on some of Cole's best-known tunes, such as ""Unforgettable"" and ""Mona Lisa"". After his work with Cole, Harris returned to Baltimore and remained there, playing, teaching, and working as a furniture salesman until he died of cancer. Charlie Harris Charlie Harris was an American jazz double-bassist. Harris was born and raised in Baltimore, Maryland. He played professionally in college and worked at the Royal Theater in Baltimore after graduating. He joined Lionel Hampton in 1941 and"
"as Deacon Hampton and His Band, or Deacon Hampton and the Cotton Pickers). The family traveled the Midwest, especially in Pennsylvania, West Virginia, Kentucky, and Indiana, performing at fairs, carnivals, tent shows, and private parties. In addition to dancing and presenting comedy skits, the band performed a variety of musical genres, including country, blues, polka, and jazz music. In 1938, after an unsuccessful trip to California to find work in the Hollywood film industry, the family relocated to Indianapolis, Indiana, where the Hamptons performed in local clubs went on tour. The family band took a temporary break during World War"
"tracks from the concert. From the mid-1940s until the early 1950s, Hampton led a lively rhythm & blues band whose Decca Records recordings included numerous young performers who later had significant careers. They included bassist Charles Mingus, saxophonist Johnny Griffin, guitarist Wes Montgomery, and vocalist Dinah Washington. Other noteworthy band members were trumpeters Dizzy Gillespie, Cat Anderson, Kenny Dorham, and Snooky Young; trombonist Jimmy Cleveland, and saxophonist Jerome Richardson. The Hampton orchestra that toured Europe in 1953 included Clifford Brown, Gigi Gryce, Anthony Ortega, Monk Montgomery, George Wallington, Art Farmer, Quincy Jones, and singer Annie Ross. Hampton continued to record"
"joined the Navy and returned from the service in 1945. He used the G.I. Bill to enroll at the Grunewald School of Music. His first musical job was with the ""Buccaneers,"" but soon he was playing at the Dew Drop Inn. In 1950 he went on the road with rhythm-and -blues pioneer, Roy Brown (""Good Rockin' Tonight"") for two years. Later he joined Paul Gayten's band at the Brass Rail, followed by a stint with Dave Bartholomew's Band. According to the brief biographical sketch in Harold Battiste's ""New Orleans Heritage – Jazz 1956-1966"", Badie was introduced to Lionel Hampton, who"
"a song titled Yesterdays. In the 1950s, hearing the horn in jazz was not as common as one might think, even though bands had been using them for almost a decade already. Lionel Hampton's band rather haphazardly picked up Willie Ruff on horn in 1954. After Hampton’s band played on The Ed Sullivan Show, Ruff called his friend Ivory Mitchell, the group’s pianist, who convinced Ruff to come play with the group for a gig the following evening. Immediately after the group finished the performance, Hampton hired Ruff into the group. After the horn found a home in larger ensembles,"
"band: trombonist John Tobias, drummer George Robinson (Milt) and reedplayer Fred Kewley (Ted). Buckner studied piano for three years from the age 10, then at 15 began writing arrangements for the band, he and his brother going on to become active in the Detroit jazz world in the 1930s. Buckner first played in Detroit with the McKinney Cotton Pickers and then with Cab Calloway. In 1941 he joined Lionel Hampton's big band, and for the next seven years served as its pianist and staff arranger. He led a short-lived big band of his own for two years, but then returned"
"the Cotton Club in Cincinnati, Ohio. In May 1952 Hampton and her siblings performed in cncert at New York City's Carnegie Hall as one of the winners in a ""Pittsburgh Courier"" popularity poll of its readers. Duke Hampton's band appeared on the same bill as the Lionel Hampton band, the Nat King Cole Trio, and singer Billy Eckstein. Shortly thereafter, Hampton appeared with her brother's band when it returned to New York City to perform at Harlem's Apollo Theater and the Savoy Ballroom. While performing as The Hampton Sisters, Dawn, Aletra, Virtue, and Carmalita Hampton signed a recording contract in"
"would play vibes on two songs. So began his career as a vibraphonist, popularizing the use of the instrument in the process. Invented ten years earlier, the vibraphone is essentially a xylophone with metal bars, a sustain pedal, and resonators equipped with electric-powered fans that add tremolo. While working with the Les Hite band, Hampton also occasionally did some performing with Nat Shilkret and his orchestra. During the early 1930s, he studied music at the University of Southern California. In 1934 he led his own orchestra, and then appeared in the Bing Crosby film ""Pennies From Heaven"" (1936) alongside Louis"
"and roll as the dominant musical force in America, the young Collier was exposed to music that would have a lasting impact on his career. As a teenager growing up in Seattle, he enjoyed the music of The Wailers (rock band), a Tacoma, Washington-based rock band considered by many to be the first garage rock group. Collier was especially fond of their song ""Dirty Robber"". At the same time, he was exposed to jazz through his father's recordings of Charlie Parker, Lionel Hampton, Duke Ellington and others. At the age of 11, his father took him to see Lionel Hampton"
"Otis Sexton Elementary School and Englewood High School. In the 1930s, as a teenager, he was a member of a gospel group, the Jubilee Boys, and performed in Chicago churches. He worked as a singer and bouncer in Chicago in the late 1930s and early 1940s. He began singing professionally as a soloist in 1937. He sometimes sang with big bands: from 1937 he performed with Jimmie Noone's Apex Club Orchestra, and also toured with Les Hite in the Midwest. In 1941 he toured with Coleman Hawkins to Memphis, Tennessee. In 1943 he performed in Boston with the Lionel Hampton"
"and Illinois Jacquet (both of whom went on to join Lionel Hampton), Eddie Vinson (who left to join Cootie Williams), Tom Archia, Cedric Haywood, Wild Bill Davis, Alvin Burroughs, Joe Marshall and Roy Porter. Vinson and Cobb had been with the band since its creation at the Aragon Ballroom in Houston in 1936. This ensemble won high praise but never recorded, on the one hand, because of the ""recording ban"" imposed on August 1, 1942, just after the band arrived in Chicago, and on the other hand, because Larkin wouldn't accept the low wages that record companies offered to black"
"and Lionel Hampton (1963). He toured Japan with Georgie Auld in 1964. Later in the 1960s he played with Buddy Rich, Arno Marsh, and Carl Fontana. He held a longtime residency at the Four Queens Hotel in Las Vegas, where he accompanied visiting musicians such as Art Farmer, Lew Tabackin, Zoot Sims, and Chet Baker. With Chet Baker With Chico Hamilton With Fred Katz With Jack Montrose With Gerry Mulligan Carson Smith Carson Raymond Smith (January 9, 1931, San Francisco – November 2, 1997, Las Vegas) was an American jazz double-bassist. Carson is the older brother of notable jazz musician"
"1920s. Benny Carter, who played many instruments, was his idol at this time. Byas started playing in local orchestras at the age of 17, with Bennie Moten, Terrence Holder and Walter Page. He founded and led his own college band, Don Carlos and His Collegiate Ramblers, during 1931-32, at Langston College, Oklahoma. Byas switched to the tenor saxophone after he moved to the West Coast and played with several Los Angeles bands. In 1933, he took part in a West coast tour of Bert Johnson's Sharps and Flats. He worked in Lionel Hampton's band at the Paradise Club in 1935"